A cylinder or block of wax or tallow with a central wick that is lit to produce light as it burns

(candle) the basic unit of luminous intensity adopted under the Systeme International d'Unites; equal to 1/60 of the luminous intensity per square centimeter of a black body radiating at the temperature of 2,046 degrees Kelvin

The first records of Braunstone are found in the Doomsday Book of 1086 where it is referred to as Brantestone or Brant’s Tun. Braunstone was a daughter settlement of nearby Glenfield and was established in the late 8th or early 9th Century, sited at the southern edge of Leicester Forest.

As a result of the Norman Conquest much of England was divided amongst William’s 1st noblemen. Braunstone was given to Hugh de Grantemesnil, one of his most trusted Barons and the son of Robert Burdet is named as holding the land. The village consisted of eight households and was worth about 60 shillings.

Over the centuries many noble families were connected with the Manor and lands of Braunstone, either as owners or as tenants. In 1246 Roger de Queney is named as owning the land, on his death it passed through the female line to the Ferres of Groby. At one time it appears that the Hastings held the land jointly with the Greys and by 1299 Hugh de Braunstone gave a life interest to William de Herle. Between the 13th and 16th centuries, the Harecourts held an overriding interest in the estate.

In the late 16th century several portions of Braunstone were sold off. 150 acres of arable land were sold to the Manners family in 1579 and a further 100 acres went to the Bennett family ten years later. In 1596 over 240 acres of land was converted to pasture by the Hastings’ family.

The Winstanley FamilyDuring the civil war (1642-1649) Sir Henry Hastings a younger son of the Earl of Huntingdon held allegiance to the royal forces of King Charles I. After the war his estates were confiscated by the parliamentarians and the fine of ?2072 led to bankruptcy.

The Winstanleys’ came to Braunstone in the mid 17th century. James Winstanley purchased the estate from the executors of the Hastings family after the death of Henry Hastings’ in 1649, for the sum of ?6,000.

A quitclaim in 1651 gave him freehold interest in the estate of Braunstone.

The Winstanley’s played a vital role in determining the future economic and social history of their properties in and around Braunstone and Kirby Muxloe for the next 275 years. They had a reputation for being fair-minded and judicious, holding important roles as leading dignitaries in The Leicester Corporation. Their decisions influenced the lives of the communities of both Braunstone and Leicester.

James Winstanley was a puritan and a lawyer by profession in the service of the Duchy of Lancaster before taking up residence in Braunstone. He and his wife Catherine had three children.

Their home was an old Elizabethan Manor built in approximately 1480 and is thought to have stood south of Braunstone Lane, close to the site of Old Hall Farm that was demolished in 1967. The Manor had stonewalled cellars and above the ground floor, two upper overhanging storeys of oak frame infilled with daub and wattle or brick.

James Winstanley was a member of Grey’s Inn and the Recorder of Leicester, a position he held until his failure to conform in 1662. While in office he Proclaimed Oliver Cromwell as Lord Protector. He died in 1666 and the estate passed to his eldest son Clement.

Clement like his father was a member of Grays Inn and his wife was also called Catherine. Clement died in 1672 and was buried in the family vault under the alter of the 12th century church of St. Peter’s in Braunstone village.

Their eldest son James became the third Winstanley to inherit the estate. He was also a member of Grays Inn and M.P. for Leicester. James married Frances, daughter of James Holt of Castleton and their only son, also named James, took over on the death of his father in 1719. He was elected to the post of High Sheriff of Leicester and married his cousin Mary Prideaux. In 1750 he bored for coal near the lakes on Braunstone Park, hoping to cash in on the lucrative trade. But one night after two weeks of hard work by his estate hands, saboteurs, thought to be from the Leicestershire Colliers, filled the bore hole with rocks and stones. With his attempt to find coal thwarted he never continued with the venture. He died in 1770.James was succeeded by his son, another Clement. In 1775 he commissioned the local architect and builder William Oldham (who later became the Lord Mayor of Leicester) to construct the present hall. The design typical of the period, a solid Georgian residence.The Hall was built on a rise with views overlooking charnwood forest and set in one hundred acres of fine parkland. During its construction scaffolding from the top floor collapsed, killing a labourer and a stonemason with many more badly injured. This may have led to the first stories of the Hall being haunted. A water head made of lead still exists, inscribed with the date 1776.

Clement also held the Office of High Sheriff of Leicester and in 1774 a remarkable procession took place. It was the custom to accompany the Judge to the Assizes Court at the Leicester Castle. The procession left from Braunstone Hall in military fashion. Thirty

Hardenbrook-Somarindyck House

135 Bowery, The Bowery, Manhattan, New York City, New York, United States

The Hardenbrook-Somarindyck House, a Federal style rowhouse at No. 135 Bowery in Lower Manhattan, was built c. 1817 and, for 150 years, the property was associated with the intertwined, wealthy and prominent Hardenbrook and Somarindyck families, serving as the family residence of John A. Hardenbrook, his wife nee Maria Aymar, and later of their daughter, Rebecca Hardenbrook Somarindyck, until 1841. Hardenbrook was a broker who was one of the 24 men who signed the Buttonwood Agreement in 1792 that established the New York Stock and Exchange Board (predecessor to the New York Stock Exchange). He became an import merchant, and then a soap and candle manufacturer, with his business next door at No. 133. At this time, the lower Bowery was a fashionable address for New York’s social elite and wealthy merchant class. This building remained in the Somarindyck family until 1944. For over six decades, from 1841 to 1907, No. 135 Bowery was the location of the nationally significant business of the Wilson family, saddlers, harness- and trunkmakers, and purveyors of firemen’s equipment, and was for many years the family residence as well.

The Hardenbrook-Somarindyck House is among the oldest of the relatively rare extant and substantially intact Manhattan houses of the Federal period and style (many such houses were raised with additional stories in the later 19th century), and is significant as a rare surviving house from the period of the lower Bowery’s history as an elite neighborhood in the post-Revolutionary War era, the other being the Edward Mooney House (c. 1785-89) at No. 18. Despite alterations, it is notable as a grand early Federal style rowhouse due, particularly, to its original form and materials, with its three-and-a-half-story height and 22-foot width, high peaked roof with two pedimented dormers and end chimney, and front facade with Flemish bond brickwork (now painted).

DESCRIPTION AND ANALYSIS

Early History and Residential Development of the Lower Bowery

Prior to the arrival of European fur traders and the Dutch West India Company, Manhattan and much of the present-day tri-state area was populated by bands of Lenape Indians. The Lenape traveled from one encampment to another with the seasons. Fishing camps were occupied in the summer and inland camps were used during the fall and winter to harvest crops and hunt. The main trail ran the length of Manhattan from the Battery to Inwood, following the course of Broadway adjacent to present-day City Hall Park, before veering east toward the area now known as Foley Square. It then ran north with major branches leading to habitations in Greenwich Village and the Lower East Side at a place called Rechtauck or Naghtogack in the vicinity of Corlears Hook. In 1626, Director-General Peter Minuit of the Dutch West India Company “purchased” the island of Manhattan from the Lenape for sixty guilders worth of trade goods.

The Bowery was, like Broadway, originally part of a Native American trail extending the length of Manhattan; during the Dutch colonization, slave laborers widened the portion of this pathway linking the city of New Amsterdam at the southern tip of Manhattan with a group of bouweries, or farms, established by the Dutch West Indies Company to supply its fledging settlement. After 1664, when the British took control of New Amsterdam and renamed it New York, this “Bowry Lane” became a component of the Post Road linking New York City and Boston. It was officially designated “The Bowery” in 1813.

During the period of Dutch rule, the area now known as the Lower East Side was divided into a number of large farms. The land on which today’s No. 135 Bowery is situated was part of what was known as Bouwery No. 4, which was also known as the Pannebacker’s Bouwery until the early 19th century. The earliest settler is not known but it was probably occupied by a tile baker or brick maker. Bouwery No. 4 was granted to Gerrit Jansen van Oldenborch on February 17, 1646, by William Kieft, Director of the Dutch West India Company. On October 27, 1649, Gerrit Jansen exchanged this farm for the Mallesmitsberg with Thomas Hall. Hall leased the property to Cornelius Gertsen on August 18, 1660, and then conveyed it by deed dated October 30, 1662, to Cornelius Steenwyck. Before 1666, Steenwyck had taken in Oloff Stevenson van Cortlandt as a partner. Upon Steenwyck’s death in 1684, his widow Margarita Reimers inherited his interest in the property and four years later she and her new husband, the Reverend Henricus Selyns, a minister in the Dutch Reformed Church, took over Van Cortlandt’s interest from his son, Jacobus. This land became known as “The Dominie’s Farm.” The block on which No. 135 Bowery is situated was within the Dominie’s Farm that James DeLancey purchased from the heirs of Margarita Reimers Selyns in 1741.

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Birmingham Coat Of Arms And Supporters Statue

This early unofficial design for the Birmingham Coat of Arms and Supporters quite closely resembles the later official version. Art, on the left in classical robes, leans her arm on a pitcher of classical shape and proportion, with a bust of a bearded man at her feet. Industry, on the other hand, in contemporary working clothes with sleeves rolled up, leans a hammer on an anvil and holds a pair of dividers in his lap. However, in some significant details they depart from the fundamental tenets of traditional heraldry. By reversing the usually standing left hand position of the male and the right hand position of the female figure, by representing them seated with their heads looking down to the street and by placing a helmet with a flowing tasselled veil and a regal crown over the shield of the Coat of Arms, Lynn adapted his sculpture to its iconographical, functional, architectural and environmental context. Her attributes, the classical dress, antique pitcher and the sculpted bust, but without her customary brushes and palette, seems to suggest the contemporary Arts and Crafts idea that the origin of Art is in ancient craftsmanship. Such a shift in emphasis towards crafts in this personification of Art through the city’s emblem, together with the modern workman appearance of Industry, must have been relevant to the Bank’s clientele in Birmingham. By representing Art and Industry seated, Lynn not only changed their emblematic role as standing supporters, but also transformed them into a three-dimensional monumental free-standing sculptural group. In contrast to the figures, the imposing splendour of the Coat of Arms with the unorthodox use of a helmet with a flowing, tasselled veil and a regal crown, shows the extent to which the new industrial middle class society continued to use the decorative vocabulary of the fundamentally aristocratic Baroque. The position of the crown over the shield was to signify the power of the nation upheld by Birmingham’s industrial and manufacturing success which grew rapidly in the 19th century.

When the original building by C.R. Cockerell of 1833 was rebuilt in 1869 by John Gibson, the National Provincial Bank (changed to the National Westminster Bank, nnow under new ownership) commissioned S. F. Lynn to produce the monumental free-standing Coat of Arms, together with the four finely carved reliefs in the porch representing the industry and crafts associated with the city. Although the shield of the coat of arms was only adopted by the Corporation in 1867, to replace others which had been used at random ever since Birmingham was incorporated as a Borough in 1838, the honour of the supporters was only officially granted in 1889 when the title of City was conferred on Birmingham.

High on the roof, above the main entrance, the shield of the Coat of Arms flanked by supporters personifying Art and Industry is a characteristic expression of civic pride in Birmingham’s industrial and commercial achievement. Banks not only had an all important financial overview and contribution to this development, but indirectly, they also had an ideological role, spreading and implanting the notion of permanent and powerful economic progress. In the midst of the series of 19th century banking crises which caused the demise of so many country banks, architecture and sculpture were often used to convey an image of security by municipal and imperial authority. The fact that the coat of arms over the Bank was made twenty years before either the shield or the supporters were authorised, shows the Bank’s concern to associate itself equally with the nation and the city.

Old Bank on Bennetts Hill now a trendy wine bar

Typical Costa Rican house

Having been under the impression that Costa Rica was a relatively safe society, and one not plagued by desperate poverty like many developing nations, I was frankly shocked at the prevailing level of security. Practically every house -- even the most modest, ones that would qualify as downright poor by US standards -- was protected by serious-looking iron bars. Occasionally it would just be window bars, but the sort of arrangement seen here, with the entire property fenced off and the car parked inside the fence, was pretty typical. Sometimes the fence would reach up to an extended patio roof attached to the house to create a sealed space; sometimes it would be freestanding, in which case it might have razor wire along the top. Simple vertical bars were the more common, but some houses, like this one, had decorative ironwork patterns.

That said, we never felt afraid for our persons. Theft of unguarded property is the only real concern.

decorative security bars

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